saša šekoranja interijeri za zaljubljene - DalCasa

vate mini-mythology within an emphasized structure
of colours, a mixture of personal preoccupations and
pop-culture, are all just a part of what can be found
in his works.
Marko Tadić was born in Sisak in 1979. He graduated
painting at Accademia di Belle Arti in Florence in 2006.
He has been present on the art scene for several years
now; he had three solo exhibits in Croatia, as well as
participated at group exhibits in Zagreb, Ljubljana, Belgrade,
Florence, Kassel and Nottingham. He won the
top award at the Youth Salon 2006 in Zagreb, and he
was also the finalist of the recently held contest for the
T-HT Award of the Museum of Modern Arts in Zagreb.
At the end of last year, his work was presented in Berlin
within the “Linienstrasse113” project by Filip Trade,
which is used to promote several chosen Croatian contemporary
artists in one of the most important European
art capitals.
Marko Tadić’s drawings are usually distinctive miniatures,
odd landscapes that are more derived from
within the author than from the reality that surrounds
him. Although the influence of that reality is more than
evident, as it manifests in comic-book aesthetics, media-transmitted
pictures that also serve as a visual base
for all those unconscious influences of pop that have
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the role of being the generation determinant. Meticulous
drawings, a slightly surreal narrative structure, a
non-threatening way of communication despite the
emphasized structure of colours – all those things make
Tadić’s projects a micro-cosmos of stories that haven’t
been told before. He is also interesting when it comes
to his choice of techniques and materials that he uses.
He often uses markers and ink, as well as draw on rejected
used objects, plastic plates, wooden kitchen
boards and cheap braces.
Within his first solo exhibit in Zagreb, which was called
“Household” at Nova Gallery in 2003, Tadić attempted
to analyse the status of artistic and everyday objects,
their functional and decorative qualities, as well as
their overlapping and reversibility. The abandoned
premise that used to serve as a shoe store became a
context and a surface for artistic intervention. Drawing
graffiti on walls, painting tapestries and the premise’s
furniture, as well as bringing in his own works, paintings,
polaroids and posters, the artist transformed the exhibit
space into a type of “total atelier” where activities
didn’t stop even the exhibit was formally opened. “The
project refers to the overlapping of artistic practice
and everyday life, as well as the general lack of work
space for artists, which can possibly lead to the option